Nikolai Badinski: The Intoxicated Bat

Nikolai Badinski The Intoxicated Bat
The Intoxicated Bat

Nikolai Badinski: The Intoxicated Bat

Year of composition:
1991/1992
Subtitle:
A surrealistic encounter in dream with Johann Strauß and Johann Sebastian Bach
Scored for:
for orchestra
Composer:
Nikolai Badinski
Instrumentation:
2 2 2 2 - 4 2 3 1 - timp, perc(2), str
Instrumentation details:
1st flute
2nd flute (+picc)
1st oboe
2nd oboe
1st clarinet in A (+bass cl(Bb))
2nd clarinet in A
1st bassoon
2nd bassoon (+cbsn)
1st horn in F
2nd horn in F
3rd horn in F
4th horn in F
1st trumpet in Bb
2nd trumpet in Bb
1st trombone
2nd trombone
3rd trombone
tuba
timpani
1st percussion
2nd percussion
violin I
violin II
viola
violoncello
double bass
Duration:
14’
Dedication:
Der Welt-Musikmuse Wien gewidmet, einem Phänomen, das für mich schon in meiner frühesten Kindheit ein fernes/nahes Wundermärchen war
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Audiosamples

The Intoxicated Bat
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The complete perusal score (PDF-preview)

Work introduction

The idea of an orchestral composition associated with Johann Strauß, the symbol of pleasurable, cheerful music on the highest level, came to me many years ago. It was a recurring dream: Johann Strauß’ “musical Gestalt” kept shimmering in my own musical visions.

At that time I was also intensively involved with twelve-tone music and generally avant-garde ideas, which was forbidden then in East Germany and the socialist countries; so it could only happen in secret. That annoyed me greatly.

Later on, sounds came along which I heard as the initial notes of Bach’s Art of Fugue. Bach “calmed” my conscience, so to speak – and yet I blocked myself internally from putting my dream-vision on paper as a composition. But the vision pursued me for years until I drafted the first sketches for orchestra in London in 1991 and finished the full score in Berlin.

Two worlds oscillate in this piece in a surrealistic way – two epochs which commingle: the world of Johann Strauß’s time and ours, with Bach as a bridge.

Nikolai Badinski
1992, Berlin/London

Translated by Grant Chorley, 2013

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